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Altered Carbon (2018)

Content warning: this review contains graphic discussion of the rape, torture, assault, and murder of sex workers; as well as spoilers after the jump.

For the uninitiated, Altered Carbon is the story of Takeshi Kovacs (Joel Kinnaman), a biracial man “resleeved” into the body of a beautiful, dirty blonde-haired, and incredibly hard-bodied white man in order to solve the murder of an immortal—called Methuselahs/Meths in this dystopian future—named Laurens Bancroft (James Purefoy). In this world, bodies are called sleeves and are changed like socks. The rich are, well, really rich and they are really powerful as well. In the future of Altered Carbon, hundreds and hundreds of years (or thousands, who knows? Because in both the book and the Netflix series, the year is not specified) from now, humans can now—for the right price—live forever in a variety of sleeves, clones, and synthetic sleeves. Living like gods, believing their own press, and flaunting laws and rules openly, the Meths are, to quote this show’s Magical Negro, Quellcrist Falconer (though Renée Elise Goldsberry steals every scene she’s in), “the darker angels of our nature.”

Altered Carbon is not the most interesting show on Netflix. At the beginning it tries to pace itself but, even with the outstanding special effects and stunt work, it drags. But it is full of nudity (James Purefoy hangs dong once, nearly every female cast member shows her breasts, butt, and even some full frontal nudity, and Joel Kinnaman is perpetually half-clothed, so be ready for it) and awkward, drawn-out sex scenes which are fairly useless to the plot, so there’s that. Full of graphic glimpses of myriad sexual positions, drugs, and profanity-laden rock and roll, the show does seem like it’s going to be an over-the-top, wild ride—and it is. It really, really is. It’s shiny and full of energy and, from the first violent, intimate, mind-bending episode, it tries its hardest to hook viewers with claws that refuse to let go. Altered Carbon is a sight to see and a world to behold, sure. But is it a world you want to spend 10 hours in? Because just a few episodes in, a repetitive theme makes suspension of disbelief impossible for viewers in the know. It’s something we discuss all the time here at Tits and Sass: stigma.

Seth MacFarlane Loves Rape Jokes

FamilyGuyOvalOrificeMy generation has seen its share of dysfunctional cartoon characters. Many of us were raised on The Simpsons, which arguably paved the way for South Park. I recall South Park making a huge impression on television and popular culture, even though I wasn’t allowed to watch it when it premiered in 1997. Adults older than I are more likely to associate their adolescence with Beavis and Butthead. All of these shows have incited controversy at some point and all were popular. So it should come as no surprise that another occasionally controversial animated comedy would succeed with the same audience. But oh, it irritates me when people assume that I like Family Guy.

I have never felt comfortable with Seth MacFarlane’s brand of humor. And I’m not alone, judging by the reactions to the multiple gross sexist offenses during his turn hosting the Oscars. There is always something about his jokes that gets under my skin and causes me to consider the implications of certain statements.

For one, there are so many rape jokes.

Satisfaction (2007-2010)

Image via SocialistJazz
Image via SocialistJazz

When I heard about the Showtime Australia drama Satisfaction, set in a swanky Melbourne brothel, I think I elbowed an old lady out of the way to check it out of the library. Yep, library: they take sex work much less negatively in Australia than they do in the United States. It’s legal, although to varying degrees of decriminalization, normalization, and support depending on what state you’re in. West Australia, where I worked, had a variety of irritating laws designed to prevent women from working outside of brothels: they weren’t allowed to hire support staff, like drivers or security, and often had to file taxes in a totally ridiculous way. In Melbourne, across the country in Victoria, sex work is legally licensed and regulated by the state: workers have licenses, regular mandated medical check-ups, and can work independently or through brothels.

Satisfaction is a super swanky TV show about a super swanky brothel, and I absolutely loved it. I’ve never been to a Melbourne brothel, but I have to assume that the glittery hanging curtains, ornate gilt decor, and licensed bar of 232, the Satisfaction home base, are probably not par for the course. They smell more of “movie set designed to make you impressed” rather than “actual working brothel.” The script, though…the script treats sex workers as real human beings, with dignity and respect, facing a variety of issues unrelated to their jobs. Sometimes they hang out together after work; sometimes they have problems unique to sex work; but for large chunks of every episode, the show discusses human dynamics among a group of women who are working for themselves and doing it by choice. There is no coercion here, and the all-too-frequent stereotype we see on US TV (“Debbie couldn’t pay her rent, and now she’s giving blow jobs for crack in some dude’s Pinto!”) is notably, refreshingly absent.

Huh, That Sounds Familiar—Law & Order: SVU

law-and-order

This is an adapted version of a piece that originally appeared on Suzy Favor Hamilton’s website.

A couple of weeks ago, a Twitter follower gave me a heads up about an upcoming episode of Law & Order: SVU that appeared to mirror my story, at least the Vegas part. The preview I watched reinforced what was comingthe episode revolved around a female Olympic pole vaulter who had been sexually assaulted while secretly escorting. Cringe.

My inbox was filled the day after the episode aired with messages asking me about it, and whether I was consulted by the show’s producers, paid royalties, etc. I can tell you, this all came out of the blue to me. No involvement whatsoever. I also can tell you, I could not bring myself to watch the show immediately. Flat out, the whole thing triggered me heavily. I’m not sure the show’s producers, writers, and actors think of that kind of stuff.

Support Hos: Elementary, Season One (2012)

That's the face I make when snide detectives blindside me with blackmail videos from my former career as an escort. (Screen shot from Elementary, season one, episode eight.)
That’s the face I make when snide detectives blindside me with blackmail videos from my former career as an escort. (Screen shot from “The Long Fuse,” S1E8, Elementary, CBS)

I’m a sucker for procedurals (while also being deeply ambivalent about them), so of course I was going to watch Elementary, CBS’s not-so-new-now take on Sherlock Holmes; I was immediately sold because female Watson. Played by Lucy Liu. And Jonny Lee Miller as a weird, twitchy, tattooed, recovering-addict Sherlock Holmes. I’m beyond over the BBC’s Sherlock, Howling Cabbagepatch’s shark-face, and the disappointing but predictable treatment of domanitrix Irene Adler—not really surprising considering the writers, but I digress.The formulaic nature of procedural mysteries is inexplicably soothing to me, and, however lackluster (and aren’t they the definition of “formulaic”?) they have the serious merit of being one of the only genres to consistently feature sex workers. Sure, they’re usually dead sex workers, but I don’t give up hope. The times they are a-changin’, and live lovable sex workers have carried their weight on some critically acclaimed cable dramas: Deadwood, Copper, Secret Diary of a Call Girl. I have faith that network procedurals will catch up soon.

In a way, Elementary has. For a procedural that features a sex worker body count of zero, the instances of live sex workers on the show are fairly high. I was alert from first watch: while the pilot didn’t have any dead sex worker bodies, I waited for the inevitable. As episodes went on I started to relax and feel hope, and then suddenly, in E08, “The Long Fuse”: Lisa Edelstein, aka Elementary’s first Sex Worker!!! made it through an episode unharmed. She was treated with sympathy as a working-class girl whose escorting career, after paying for grad school and a successful business, was now being used as blackmail against her by a creep who had violated her privacy and filmed their call.